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Talk on his new book with music tracks form Catherine Christer Hennix and DJ Screw
The Centre for Sound, Technology and Culture (CSTC) presents a talk by Marcus Boon author of a just published The Politics of Vibration book. He will take up some of the themes from the book with selected tracks from Hindustani classical vocalist Pandit Pran Nath, Swedish drone composer and philosopher Catherine Christer Hennix, and Houston-based hip-hop musician DJ Screw.
Marcus Boon is a writer and Professor of English at York University in Toronto. He is the author of The Road of Excess: A History of Writers on Drugs (Harvard UP, 2002), In Praise of Copying (Harvard UP, 2010) and The Politics of Vibration: Music as a Cosmopolitical Practice (Duke UP, 2022) as well as co-author with Timothy Morton and Eric Cazdyn of Nothing: Three Inquiries in Buddhism (U. Chicago, 2015). He co-edited a collection of writings on Practice in the Visual Arts with Gabriel Levine (MIT/Whitechapel Documents of Contemporary Arts series, 2018) and is editing a new edition of William Burroughs and Brion Gysin's cut up manual The Third Mind with Davis Schneiderman (U. Minnesota, forthcoming). He is currently working on a book entitled Practice: Aesthetics After Art. He writes about music for The Wire and collaborates in making immersive vibratory environments with Christie Pearson as Thewaves.
In The Politics of Vibration Marcus Boon explores music as a material practice of vibration. Focusing on the work of three contemporary musicians—Hindustani classical vocalist Pandit Pran Nath, Swedish drone composer and philosopher Catherine Christer Hennix, and Houston-based hip-hop musician DJ Screw—Boon outlines how music constructs a vibrational space of individual and collective transformation. Contributing to a new interdisciplinary field of vibration studies, he understands vibration as a mathematical and a physical concept, as a religious or ontological force, and as a psychological determinant of subjectivity. Boon contends that music, as a shaping of vibration, needs to be recognized as a cosmopolitical practice—in the sense introduced by Isabelle Stengers—in which what music is within a society depends on what kinds of access to vibration are permitted, and to whom. This politics of vibration constitutes the hidden ontology of contemporary music because the organization of vibration shapes individual music scenes as well as the ethical choices that participants in these scenes make about how they want to live in the world.
The Politics of Vibration Intro pdf
Marcus Boon blog
Dates & times
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|1 Nov 2022
|6:00pm - 8:00pm
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